SAfm Playwriting competition
An invitation to writers to explore the medium of sound
This is an invitation to writers to explore the medium of sound, “the theatre of the mind” by creating a 60 (sixty) minutes radio play in English for SAfm. Entries open from the 6th of November 2023 until the 22nd January 2024.
First prize is R50,000,00 (Fifty Thousand Rand) the second prize R35,000,00 (Thirty Five Thousand rand) and the third prize R20,000,00 (Twenty Thousand Rand).
- Plays submitted must be of 60 (sixty) minutes, original works, and not previously broadcasted.
- Plays must be specifically written for radio; stage plays or plays requiring adaptation will not be considered.
- Plays must be written in South African English. 95% (ninety five percent) South African English.
- This Competition is open to any South African citizens of all ages and races.
- Entries should be typed in a font comparable to 11-point Century Gothic, double-spaced and on one side of the paper only. The standard size of a radio script is A4. Following these guidelines, a 60 (sixty) minute play would run to about 45 (forty five) pages. Words- 7000 (seven thousand)-8000 (eight thousand) words.
- There are no limits to the choice of topics or the style of writing: Comedy, Tragedy, Fable or Folklore, Social or Domestic Drama, Satire, “Slice of Life”. If it appeals to the target market (daytime radio).
- Submissions should reach SAfm by 5pm (17:00) on 22th January 2024, late submissions will not be considered.
- Authors must certify that plays submitted are their original works and must indemnify the SABC against any infringement of copyright, deliberate or otherwise
- If a play submitted contains any material (a quotation from a poem, for example) which is subject to copyright restrictions, the author must ensure they have obtained all relevant copyright clearances, if required and furnish the SABC with same.
- One entry per author.
- The Competition Judges’ decisions shall be final, and no correspondence will be entered into in this respect.
- Prizes are not transferrable and are not negotiable.
- SAfm reserves the right to withhold the awarding of prizes if no entries are considered by the Judges to merit them.
Exclusion from the competition
- Employees of the SABC, agencies, prize sponsors or any person directly or indirectly involved in the organisation or running of the Competition, or their immediate family members.
- Previous winners of the competition.
- Individual whose work have been produced by SAfm.
- Translation of already published works
- SAfm reserves the right to modify, suspend, or terminate the competition at any time without prior notice.
- SAfm decision regarding all aspects of the competition, including the selection of winners, is final and binding
- By participating in the competition, entrants agree to be bound by these rules and regulations.
- Entrants may not attempt to do anything to change the outcome of the competition in any way.
- If an entrant or a winner fails to comply with any part of these rules, the entrant or winner will be disqualified and will forfeit any prize(s).
- SAfm may amend, modify, or change these Terms and Conditions in our sole and absolute discretion without notice. By participating or continuing to participate in the competition, entrants and winners agree and understand that they will be bound by the amended terms and conditions.
- SAfm may refuse to award any prize to any winner if there is suspicion of any irregularities or fraudulent activities.
- SAfm reserves the right to carry out reasonable due diligence to confirm eligibility and help ensure that the use of any winner in advertising or publicity for the competition will not bring SAfm or sponsor brands into public disrepute, contempt, scandal, or ridicule or reflect unfavourably on the competition as determined by SAfm in our sole discretion.
- At the SAfm request, winners will have the option of participating in all promotional activity (such as publicity and photography) surrounding the winning of the prize, free of charge. Prize winners consent to SAfm using their name, likeness, image and/or voice in the event that you are a winner (including photograph, film and/or recording of the same) in promotional material or in any media for an unlimited period without remuneration for the purpose of promoting this competition (including any outcome) and promoting any products manufactured, distributed and/or supplied by SAfm.
- If for any reason any prize winner is not eligible to win the prize, that person will lose his or her right to the prize and will forfeit the prize.
- SAfm reserves the right to award the prize to the next deserving participant.
- SAfm assume no responsibility whatsoever for any entry that has been left out from participation for any reason.
- SAfm reserve the right to withhold any prize until it is entirely satisfied that the claimant of the prize is the bona fide winner.
- Should the winner be found not to have complied with these competition rules, he/she will automatically be disqualified, and any prize may be retracted.
WRITERS ARE REQUESTED TO FILL IN THE ENTRY FORM. PLEASE STATE YOUR REAL NAMEs ON THE ENTRY FORM. YOUR NAME SHOULD ONLY APPEAR ON THE ENTRY FORM AND NOT ON THE SCRIPT.
Plays should be emailed to: email@example.com.
The winners of this competition will be announced on SAfm on the 4th of March 2024. Please note that only the winners will be personally notified.
SAfm will have the right to broadcast each of the winning entries twice, with subsequent broadcasts, if any, attracting repeat payment at current rates. Other entries of a high standard may, at the sole discretion of SAfm, also be broadcast by SAfm in the usual way at current rates of payment.
SAfm reserves the exclusive right to contract any plays entered in this competition for a period of 6 (six) months after the announcement of the winners.
For more information contact SAfm Drama’s on firstname.lastname@example.org
Competition Name: SAfm Playwriting Competition
Applicable For: Competition open to South African Citizens only
Competition Deadline: 22 January 2024, at 5pmt
Entry form click here
- Ten tips for writing a play for Radio:
How do you turn your ideas into a play for radio?
1. Grab the audience from the start
Don't take too long to get started into the main action of the play. Some plays have a great opening scene, but do not push forward the story enough through the rest of the play..
Radio Drama thrives on strong narratives. Whether you’re writing a tragedy, a comedy or a play to change the world, a great storyline will keep your audience listening. However, don’t make the story too complicated with too many themes, characters and plotlines, or the listener will get confused.
2. Write about something that is personal to you
Think what you are trying to tell the world. Why does your play matter? Write about something personal to you – write about a world you know. This is your chance to tell the world something about your world and what’s important to you. Or, if you don’t want to write about a world you know, bring what you know to the world you write about. If you want to write about a historical event, think about how you are going to tell the audience something new about it.
Good drama is not simply about one idea but about what happens when two ideas collide. 60minutes minutes gives you a lot of time to develop your plot and your subplot.
3. Vary the pace and length of your scenes
A radio play which has five ten-minute scenes, each set in a dining-room, is likely to be less effective than a play which varies its scenes and settings. Using a variety of backgrounds, scene lengths and sound effects will usually make the story more effective for the listener.
4. Make sure the structure keeps them listening
Think about the beginning, middle and end. Think about what will grab the audience in the first ten pages and then, as the play unfolds, why they should keep listening. Then think about how the situation in your play develops and changes through the middle of the play and then how it is resolved. Ensure your play is not predictable. Use the element of surprise! Audiences can begin listening at different points throughout your play, so you need to think about what will hook them in throughout the story and then what will keep them listening to the end.
5. Get under the skin of your characters
Get to know them really well. Each will have their own individual speech mannerisms. Don’t have them all speaking in your tone of voice.
6. Express your characters between dialogue and interaction
If you want to have one central character, think about how you can express character through dialogue and interaction with other characters, rather than them talking out loud to us for long periods. sixty minutes of listening to one voice, even with the best actor in the world, is tricky to sustain! So, if you want to say that Naledi has a difficult relationship with her mother, write a scene where they have an argument, rather than putting it in Naledi’s narration. In the same way, show us moments of action and don’t report them: this is more dramatic (and therefore more interesting).
7. Use the four building blocks - speech, sound effects, music and silence
If you haven’t written your play specifically for radio, please re-work it for radio – and remove references to stage, film or video. If you’re thinking of submitting a stage play you’ve written, it’s worth going through it to make it radiophonic. Some things just don’t work on radio. For example: “ Matt shakes his head”, but you could change it easily by giving Matt the line ‘No’.
8. Express the visual elements in a subtle way
Think about how to express visual elements of your play in a subtle way to help the audience imagine the story you are telling. If you have a very visual idea that you want to write about – perhaps a fantastical creature – think how, without visuals, you can make the audience understand who or what is speaking. For example, if a butterfly appears and starts talking – how are the audience going to understand that it’s a butterfly? It can work, but you’ll need to find a way to establish this clearly, using sound only.
9. Concentrate on your presentation
Script readers (and play competition judges) are better disposed towards neatly-typed, professionally presented scripts. Type all directions and sound effects in capital letters (e.g. HAMLET’S GARDEN. HAMLET IS DIGGING FOR POTATOES.) and dialogue in lower case. Leave a space each time a character speaks.
10. Enjoy writing your play
If you enjoy it, the chances are that other people will too.
RADIO PLAY 60’
-- Dasher –
By JT Lawrence (Sample Script for SAfm Play writing Competition)
© Copyright reserved by the author: Janita Lawrence
(Revealed at the end as Father Christmas)
(Revealed at the end as Mother Christmas)
(Old, tired, grumpy has-been)
SHOPPING MALL ANNOUNCER (BRENDA)
(Friendly, warm young woman)
(Hustler with a good heart)
CHILD 1 (DAVID)
(Sweet young boy of around 6)
(Harassed father of Child 1 and 2)
(Terribly spoilt, disrespectful child: 6 years old or so)
(A grown up version of her daughter)
(Shopping centre management — Nick’s boss)
(Mother of Child 1 and Child 2)
(Old, cantankerous neighbour)
LANDLORD (MR RENS)
(Large, intimidating man who doesn’t mess around)
THEME MUSIC: “All I Want For Christmas is You” by Darlene Love.
MUSIC DIP FOR:
1. MALE NARRATOR: We present ‘All I Want for Christmas,’ written by JT Lawrence.
THEME UP AND X/FADE TO COSY LOUNGE INTERIOR REPLETE WITH TWINKLING LIGHTS AND CRACKLING FIRE.
1. FEMALE NARRATOR: (WARM, INTIMATE) ’Twas the night before Christmas, when all through the house, / Not a creature was stirring, not even a mouse; / The stockings were hung by the chimney with care, / In hopes that St. Nicholas soon would be there; / The children were nestled all snug in their beds, / While visions of sugarplums danced in their heads. / And Mama —
(FX: THE JARRING SOUND OF A RECORD PLAYER NEEDLE SCRATCH. CUT ALL AMBIENT FX.)
2. MALE NARRATOR: No, no, no!
3. FEMALE NARRATOR: … No?
4. MALE NARRATOR: That’s all wrong!
5. FEMALE NARRATOR: What do you mean? It’s Christmas!
6. MALE NARRATOR: Wrr-r-r-rong!
(FX: AMBIENT SOUNDS FADE SLOWLY BACK IN.)
7. FEMALE NARRATOR: But look! Snow on the windowpane. Twinkling lights on the tree. Stockings — such cheerful stockings! — hanging so gaily by the crackling fire.
8. MALE NARRATOR: (BITTER) Ha!
9. FEMALE NARRATOR: Can’t you smell the roasting chestnuts? The oranges studded with cloves?
10. MALE NARRATOR: My dear wife. Do you know what your problem is?
11. FEMALE NARRATOR: My problem?
12. MALE NARRATOR: You’ve been corrupted!
13. FEMALE NARRATOR: I beg your pardon?
14. MALE NARRATOR: You’ve been corrupted by the Hollywood version! You think Christmas is about reindeers and … and snowmen!
15. FEMALE NARRATOR: But …
16. MALE NARRATOR: We’re in South Africa, for Holly’s sake! The closest we get to snow is that fake stuff out of a can. And plastic pine trees imported from Vietnam. And don’t get me started on turkeys!
17. FEMALE NARRATOR: You have a problem with turkeys?
18. MALE NARRATOR: I do!
19. FEMALE NARRATOR: Well. I’m not sure I have a response to that.
20. MALE NARRATOR: I mean, who in their right mind would roast a turkey? So dry! So very dry! I get cottonmouth just thinking about it! Gah!
21. FEMALE NARRATOR: I think we’re getting off track here.
22. MALE NARRATOR: You’re right.
23. FEMALE NARRATOR: You were going to tell me — I think you were going to tell me … a Christmas story. A real one.
24. MALE NARRATOR: Yes. Yes, I was.
25. FEMALE NARRATOR: Well, will you sit down? Here, by the fire? It’s very cosy.
26. MALE NARRATOR: I suppose I … I suppose I do have to sit somewhere.
(FX: FEMALE NARRATOR PATS THE PLACE ON THE COUCH, NEXT TO HER.)
27. FEMALE NARRATOR: And how about some lovely warm cocoa? Here.
(FX: PASSES HIM HOT COCOA. SHE GETS COMFORTABLE AND BITES INTO A BISCUIT.)
28. MALE NARRATOR: … What’s that you’ve got there?
29. FEMALE NARRATOR: These? These biscuits?
30. MALE NARRATOR: Yes.
31. FEMALE NARRATOR: I’m not sure you’ll like them. Full of Hollywood Christmas spices. Cinnamon, nutmeg, allspice.
32. MALE NARRATOR: They sound dreadful.
33. FEMALE NARRATOR: They are. You’d better have one. You know, to help me finish them.
34. MALE NARRATOR: If it would help. Okay.
35. FEMALE NARRATOR: Okay.
(FX: PASSES HIM A COUPLE OF BISCUITS.)
36. MALE NARRATOR: It wouldn’t be much in the Christmas spirit if I wasn’t willing to help you, would it?
37. FEMALE NARRATOR: That’s exactly what I was thinking.
(FX: EATS A BISCUIT; HIS ENJOYMENT IS OBVIOUS.)
38. MALE NARRATOR: You’re right. They’re dreadful.
FX: X/FADE FROM COSY LOUNGE INTERIOR TO THEME MUSIC.
MUSIC X/FADES (BUT STAYS IN THE BACKGROUND, ON THE SOUND SYSTEM) TO AN OVERLY BUSY SHOPPING MALL. AMBIENT SHOPPING MALL NOISES (BAG-LADEN PEOPLE WALKING, TALKING; CASH REGISTERS PINGING; CHILDREN LAUGHING/CRYING.
1. FEMALE NARRATOR: (EXCITED) Oh! A shopping mall! Are we going shopping?
2. MALE NARRATOR: We are certainly NOT going shopping. Don’t get me started on how I feel about the commercialisation of Christmas.
3. FEMALE NARRATOR: Look at all those people! So serious! So … determined! Look at that man. He’s virtually foaming at the mouth!
(FX: 2 FELLOW FEMALE SHOPPERS FIGHT OVER A TOY. ONE HITS OTHER WITH SOFT-ISH TOY THAT BLEATS)
4. FEMALE NARRATOR: Did that woman just hit that other woman over the head with a … with a child’s toy?
5. MALE NARRATOR: (SIGH) (SHAKES HEAD) It’s like the ANTITHESIS of Christmas.
6. FEMALE NARRATOR: Then … then, why are we here?
7. MALE NARRATOR: There is someone I want you to meet.
8. FEMALE NARRATOR: Is it a shopper? Is it that lady there? She looks nice. She looks desperate to buy some wonderful things for her friends and family. (PAUSE) Oh. Oh dear. It looks like she is about to hit someone, too.
9. MALE NARRATOR: It’s not her.
10. FEMALE NARRATOR: Is it that man, there? In the trench coat?
11. MALE NARRATOR: Most certainly not!
12. FEMALE NARRATOR: … Well?
13. MALE NARRATOR: We’re almost there. … Almost. Ah! There he is!
14. FEMALE NARRATOR: You’re not serious.
15. MALE NARRATOR: I am.
16. FEMALE NARRATOR: The story is about him?
17. MALE NARRATOR: You don’t like the look of him?
18. FEMALE NARRATOR: It’s not that.
19. MALE NARRATOR: Then what?
20. FEMALE NARRATOR: It’s just … unexpected, that’s all.
21. MALE NARRATOR: Well, I do like to keep you guessing.
22. FEMALE NARRATOR: Oh my. What is that smell?
23. MALE NARRATOR: Smell? What smell? (SNIFFS THE AIR) … Oh. That smell.
24. FEMALE NARRATOR: It’s like … it’s like Mexican … cheese.
25. MALE NARRATOR: I know what you mean. Like a week-old taco.
26. FEMALE NARRATOR: Tacos! That’s it. Black bean tacos. With pickled jalapenõs and … stale cheese.
27. MALE NARRATOR: Well, it’s not his fault. He’s just had lunch. He doesn’t have much to choose from. The food court here leaves much to be desired and he doesn’t earn a lot of money.
28. FEMALE NARRATOR: It’s not just the smell. He looks … well, he doesn’t look very well.
29. MALE NARRATOR: Maybe Mexican food doesn’t agree with him.
30. FEMALE NARRATOR: He could do with a wash. And a haircut. And his tracksuit — that could do with a wash, too.
31. MALE NARRATOR: Don’t be too hard on him. He’s down on his luck.
32. FEMALE NARRATOR: It certainly looks like it.
FX: SHOPPING MALL INTERCOM X/FADES WITH CHRISTMAS CAROLS: AN ANNOUNCEMENT ALERT: DING DING DING!
1. SHOPPING MALL ANNOUNCER (BRENDA): (OVER THE SOUND SYSTEM) (BRIGHT AND CHEERFUL) Good evening shoppers! We hope you are having a merry shopping experience here at Glitter Mall. Remember that Pretty Pictures on the 2nd floor is running a special on printing and picture frames. Make your home as pretty as a picture! Also, Incredible Books on the piazza are giving away free Rudolph the Reindeer noses to anyone who spends over a thousand rand. Gallop over there now before they run out! And now for the big news: Father Christmas and his elves will be at the North Pole in ten minutes! Visit them there and sit on Santa’s lap! (The North Pole is on the first floor in the square in front of Homemakers Inc.) See you there! Ho ho ho!
FX: NICHOLAS SIGHS AND HEAVES HIMSELF UP. SCRUNCHES UP THE PAPER CUP IN HIS HANDS AND THROWS IT IN THE BIN. HE STARTS TO WALK TO THE ‘NORTH POLE.’ ENTERS A STAFF DOOR, LEAVING THE ‘MERRY’ AMBIENCE OUTSIDE.
1. SHOPPING MALL ANNOUNCER (BRENDA): Hey Nick.
2. NICHOLAS: Hey Brenda.
(FX: NICK STARTS TO PUT HIS SANTA SUIT ON, OVER HIS CLOTHES.)
3. BRENDA: What time are you on duty until?
4. NICHOLAS: (SIGHS) Until the last of the brats leave, I guess.
5. BRENDA: They’re not ALL brats.
6. NICHOLAS: Show me a kid today who is NOT a brat.
7. BRENDA: Well …
8. NICHOLAS: Exactly.
9. BRENDA: It’s a funny choice of a career for a man who hates children. And hates Christmas.
10. NICHOLAS: I don’t hate Christmas. I just hate what it’s become. … And I don’t hate kids.
(FX: NICK STARTS GLUING HIS BEARD TO HIS FACE.)
11. BRENDA: Okay. It’s an odd career choice for someone who dislikes children intensely. (PAUSE) Do you need help gluing that beard on?
12. NICHOLAS: Nah. Thanks. (PAUSE) Anyway, what else would I do? All I have is my sleigh. And my reindeers. (PAUSE) This old suit.
13. BRENDA: You could do anything!
14. NICHOLAS: (BITTER) Ha. This is real life, Bren. Not some Disney Fairy story.
13. BRENDA: Well … anyway. I was thinking that if we get off at around the same time this evening, maybe we can go for a coffee or something.
14. NICHOLAS: Brenda. You are young and beautiful —
15. BRENDA: (SHY) — am not! —
16. NICHOLAS: — and you should be going out with people your age. What am I? Your charity case?
17. BRENDA: No! I just thought it would be nice. You know. Christmas Eve and all.
18. NICHOLAS: Ja, well, I have plans.
(FX: HOISTS HIS BAG OVER HIS SHOULDER WITH A GRUNT.)
19. BRENDA: You do?
20. NICHOLAS: Is that so hard to believe?
21. BRENDA: Of course not! Just… I’m just surprised, that’s all.
22. NICHOLAS: Well.
23. BRENDA: I’m just about to announce that you’re at the North Pole. Are you ready?
24. NICHOLAS: As ready as I’m ever gonna be.
(FX: BRENDA TURNS ON THE INTERCOM AGAIN. THE ALERT X/FADES WITH THE CHRISTMAS CAROL: DING DING DING! NICK OPENS THE DOOR AND MAKES HIS WAY OUT OF THE STAFF QUARTERS, LEAVING THE DOOR TO SLAM SHUT BEHIND HIM, AND BRENDA TO ANNOUNCE.)
25. BRENDA: (OVER THE SOUND SYSTEM) Good evening shoppers! We hope you are having a merry shopping experience —
(FX: WE FOLLOW NICK’S SHORT JOURNEY TO THE ‘NORTH POLE.’ WE WALK PAST BUSY SHOPS AND SHOPPERS.)
26. BRENDA: — We’ve just received very exciting news here at the Glitter Mall HQ. An elf whispered in our ears that Father Christmas is at the North Pole! (The North Pole is on the first floor in the square in front of Homemakers Inc.) Come and visit us here and sit on Santa’s lap! Get a photo taken by our resident Pretty Pictures photographer and treasure the moment forever! (Pictures cost R49.99).
(FX: NICK GETS TO THE OLD WOODEN SLEIGH AND CLIMBS IN.)
1. CHILD 1: Look, Daddy! It’s Father Christmas!
2. CHILD 2: Kissmas! Kissmas!
3. RELUCTANT FATHER: (EXHAUSTED) Oh my goodness! How … exciting!
4. CHILD 1: Can I go see him? Can I go see him, Daddy?
5. RELUCTANT FATHER: Er … I guess so?
6. CHILD 2: Kissmas! Kissmas!
6. PHOTOGRAPHER: Hello little boy! Climb on Santa’s lap! I’ll take a photo of you!
7. RELUCTANT FATHER: A photo? That’s not necessary. I’ll just take a quick snap with my phone.
8. PHOTOGRAPHER: It’s only R49.99 and its a memory you can treasure forever!
9. RELUCTANT FATHER: Er …
10. CHILD 1: (EXCITED) (HOPPING AROUND) Can I, Daddy? Can I, Daddy? Can I, Daddy?
11. RELUCTANT FATHER: Alright, son, go ahead.
(FX: FATHER HELPS HIS SON CLIMB UP ONTO THE SLEIGH.)
12. NICHOLAS: Hello.
13. CHILD 1: Are you REALLY Father Christmas?
14. NICHOLAS: Of course I am. Would I be sitting here if I weren’t?
15. CHILD 1: (THINKS) … I don’t know.
16. NICHOLAS: Well, big boy. What would you like for Christmas this year?
17. CHILD 1: (AWE) … I’d like a … Transformer.
18. NICHOLAS: Well, have you been a good boy this year?
19. CHILD 1: Yes?
20. NICHOLAS: Yes? You’re not sure?
21. CHILD 1: I’ve been good … MOST of the time.
22. CHILD 2: Kissmas! Kissmas!
23. NICHOLAS: Well, that’s good enough for me.
24. PHOTOGRAPHER: Sa-a-a-ay ‘holly’!
25. NICHOLAS & CHILD 1: Holleeee!
(FX: PHOTOGRAPHER TAKES A FEW PICTURES.)
26. NICHOLAS: Is that your little brother down there?
27. CHILD 1: (SIGH) Yes.
28. NICHOLAS: You’re very lucky to have a brother, you know. Not everyone is that lucky. You must take good care of him.
29. CHILD 1: But he cries. And he breaks my toys.
30. NICHOLAS: Don’t worry about toys. The world is full of toys. I should know! There will always be more toys, if China has anything to do with it.
31. CHILD 1: … Okay.
32. NICHOLAS: Be a good brother, okay? Family is … family is everything.
33. CHILD 1: Okay, Father Christmas.
34. NICHOLAS: Here, take a star. It’s a sticker. And a candy cane. And one for your brother.
(FX: NICK HANDS SWEETS TO THE CHILD.)
35. RELUCTANT FATHER: Say ‘thank you,’ David.
35. CHILD 1: Thank you Father Christmas.
(FX: PHOTOGRAPHER HANDS RELUCTANT FATHER THE PRINTED PHOTO.)
34. PHOTOGRAPHER: Here’s the photo. Isn’t it special? That’ll be R58 (without a tip).
35. RELUCTANT FATHER: R58? You said R49.99!
36. PHOTOGRAPHER: That’s excluding VAT.
37. RELUCTANT FATHER: So the North Pole is charging tax nowadays?
38. PHOTOGRAPHER: (UNDER HIS VOICE) Don’t be a Grinch, man, just hand over the cash.
(FX: FATHER GETS HIS WALLET OUT AND TAKES OUT SOME NOTES.)
39. RELUCTANT FATHER: (RESIGNED) Fine. Fine. Just take it. Daylight friggin’ robbery.
40. CHILD 2: Kissmas! Kissmas!
(FX: CHILD 1 CLIMBS DOWN FROM SLEIGH.)
41. PHOTOGRAPHER: Do you want a chance on the sleigh, too, little guy?
42. RELUCTANT FATHER: Absolutely not! Come on, boys, let’s go.
43. PHOTOGRAPHER: Okay, okay. Bye kids!
(FX: FATHER TAKES HIS KIDS AWAY, THE TODDLER KICKING AND SCREAMING.)
44. CHILD 2: (WAILING) Kissma-a-a-a-a-a-a-as!
45. NICHOLAS: Not a bad kid. Maybe Brenda was right.
46. PHOTOGRAPHER: Brenda? About what?
47. NICHOLAS: (PAUSE) Nothing. It doesn’t matter.
NB: The script continues, this part is used as a sample.
Q: Who is eligible to enter?
A: Any South African Citizen over the age of 18 years.
Q: How long should the radio play be?
A: Plays submitted must be of 60minutes duration, original works, and not previously broadcasted.
Q: How many pages should a script consist of?
A: Entries should be typed in a font comparable to 11 point Arial , double-spaced and on one side of the paper only. The standard size of a radio script is A4. Following these guidelines, a 60-minute play would run to about 45 pages or seven thousand to eight thousand words.
Q: Language to use when writing the script?
A: Plays must be written in English. 95% South African English.
Q: Are there any themes or topics to follow when writing a script?
A: There are no limits to the choice of topics or the style of writing.
Q: How many times can I enter the competition?
A: Only one entry per writer.
Q: When is the closing date for submissions?
A: On the 22nd January 2024 at 17:00pm. No late submissions will be accepted.
Q: When will the announcement of the winners be made?
A: On the 4th March 2024
Q: For further information who can I contact?
A: Send an email to email@example.com